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Disclaimer: I dont like or want rolling shutter. I love the motion from the videos I shot with the global shuttered D16 and BMPC4K. A fun fact I've told many times before, still applies so here it goes again One of the top, if not number one, TV shows in Sweden is a game show called "On the track" (https://en.wikipedia.org/wiki/På_spåret). Its a quite difficult show with questions about everything from food to sports in different geographical locations. Its been going on since 1987 with an average of 2 million viewers and a peak of 3.7 million. In 1990 when the record was set that accounted for 43% of the population. Remove those to young and/or to old and we get pretty much everybody. Three times every show we get to watch an up speed train ride and the camera is filming from within the train. It goes on until the contenders guess where the train is heading. So every week 2 000 000 people watch bent poles, crooked houses and leaning towers, for at least ten episodes per year. Never ever ever ever, not once, nope nope nope, no no not a single time have I or anybody I know ever heard anyone point it out or simply said "have you noticed the bent poles?" Camera nerds like us of course see it but no one else cares even a little bit. My point is, if a camera ticks all your boxes but has a flaw like aliasing, RS or a bit of noise in the shadows. Then maybe its still good enough for your audience. Imo it I rather have a camera I like with a bit of noise in the shadows than a camera I dont enjoy.

To be fair, the rolling shutter is also pretty shit on the NX1 - but that is doing a 6K readout, no crop, and it's 4 years old!! If the EOS R were a laptop, it'd run DOS.

Let's call it a Tarantino mode then - every camera needs one - something that's fun, addictive, imperfect, stylish and to be honest slightly ridiculous. If a camera is too well educated and too much in a straight jacket it fails at being fun to shoot with. That is a Sony. I have only really ever enjoyed the RX1R II, and the rest stays in the bag. Whenever I talk about that elusive "camera-personality" I always seem to bring up imperfections a lot, so maybe Sony is just too good. I always seem to talk about grain or the Digital Bolex, but it's really more about how high image quality expresses itself - emotionally, rather than the numbers, and it is the same with ergonomics and functionality - less about specs - more about personality. The X-H1 I have as well, and I like it a lot. There is however a very slightly clinical soul to it because of how damn sharp the 4K is and how utilitarian the body is. It could actually be too perfect? IBIS too stable. Image too detailed. Just too...... good? Whereas the EOS R has serious limitations and deserves a lot of criticism for what it "could have been", it feels in-hand the closest to a full frame GH5 I've yet known, and when you put your palm out under the articulated screen offset to the side of the body, it's almost as if a C200 or 1D C image is unfolding in the palm of your hand like magic, and everything feels in the right place, and you know it "just works" and is in focus... And you know it can transform into a mirrorless 5D Mark IV at any moment for stills shooting. Then you remember the specs - slow 30ms sensor readout with rolling shutter skew, no 10bit internal, 1.8x crop, so on... And it doesn't make a damn difference to the shoot which is unfolding on that screen or in the EVF. Reality is almost divorced from the specs sheets. It's very weird. The colour. Canon have it very close to Kodak film, or a Leica M9 with the Kodak CCD. The way it handles two extremes of light temperature in the same frame is uncannily like film. There is no tricky wire-act between green and magenta. Warm tones and wood don't have a magenta cast, as if the camera is trying to avoid a green cast. It seems to have a wider bandwidth of colour temperature, in which it sits almost perfectly in the middle - neither too far one way or the other - just beautiful. Same with the 1D C, yet now we have the choice to drop to 120Mbit instead of 500Mbit MJPEG, but the colour magic is still there. Also in handling the blacks, they never seem to completely crush. There is always a creamy, milky look to a dark window at night on the EOS R and 1D C, whereas on other cameras with superior specs, you might see sharp edges or noise or too much detail or too much absolute black. Talking about defying the specs sheet - the Leica M9. Now it's 10 years old yet still has a more filmic nature and addictive shooting quality than most top of the range 2018 cameras. It does not have the perfect plastic still-life feel of a CMOS camera, it has a silk-like grittiness... a contradiction but it's true. Now we have the Nikon Z7 which I am getting on with quite well, but again something is lacking. The outright paper specs are the best on this camera of all that I own (full frame mirrorless wise). But it feels a bit like a consumer gadget, with again a clinically perfect modern image. I can't wait to rough it up with some older lenses via an adapter. The 35mm F1.8 Z is amazing but it's so cut-glass posh. It's like a perfect blonde super model, when you know you'd have more fun with Emma Watson. I need to add some things to my Z7, to get it to show some personality. Maybe a cage, a lens adapter, and turn the IBIS off... Add some imperfections into the shooting process. Otherwise it's just too seamless. Where's the challenge?

We wonder why Canon continue to sell more cameras than Sony and Panasonic? Read the full article

“I am not worried about bricking my camera, because it’s already a brick with a 1.8x crop and rolling shutter to make the leaning tower of Pisa look straight.” that moment when I laugh hard in the plane and everyone looks at me...

No need to get an EM5 II now the E-M10 III exists though. It's way better for video.

It doesn't sound so terrible on paper (on par with many other FFs) until you remember it's a 1.7x crop.

in a perfect world the best A camera to use with an A6500 is the Sony FS7

If the Cinema EOS line comes at the expense of the EOS line, it should be straight up cancelled. Pro video has high margins but it's a niche compared to mirrorless and DSLR. For every C200, Canon probably sells 10x more 5D Mark IVs. If having crippled video on their hybrid cameras is going to continue for another 5 years, and half their market vanishes, then the extra profit from the Cinema EOS is nowhere near going to be a stand-in for all those lost sales. Canon should accept the fact that they may lose some pros from the C100 and C200 line, who will buy a full frame camera. They are losing these pros no matter what, because some of them are buying Sony, Fuji and Panasonic mirrorless cameras. I'd say no more than a small proportion of pros are leaving behind cameras like the C200 for mirrorless cameras, because they're happy with the form factor of the C200, the interface and the audio side, as well as built in ND. All the same reasons they left stills cameras behind in the first place - as well as appearing with pro gear on a paid job, rather than turning up with a 'toy' in the eyes of a client - stupid though it is to the professional and us - it's still sadly the case that some clients don't trust 'small unprofessional consumer cameras', or would question the capabilities of the shooter based on their misinformed gear views. If anything, Canon can sell a second body to these users and make even more money - but not if it has rolling shutter like the leaning tower of Pisa. I just think a big company has huge inertia. The decisions taken around the sensor technology go back a long time. Maybe even there is extra colour processing which slows down the output. Maybe even Sony holds a vital patent for cooler running, faster running BSI full frame sensors. So the EOS R video limitations might not even be at all related to Cinema EOS and market segmentation. My best guess is... Yes Canon wants to keep pros on the high-profit margin Cinema EOS cameras, they want a range of separate video tools for them, they want pros to buy BOTH video cameras and stills cameras. They even want some people to buy an XC10 or an XF705, you name it, Canon want to sell it you. Yes Canon is aware of the backlash about uncompetitive video specs on DSLR and mirrorless cameras, but due to the inertia of changing the direction of such a big ship, they have to live with decisions made a long time ago about technology, sensor specs, readout speeds, heat dissipation, etc. And on top of that they are more conservative on reliability than Sony, so will underclock things even further to prevent any heat issues in 4K over long continuous recording stints. So add all that together and you are not going to get full frame 4K from them yet. What confuses me is that Canon makes a GREAT deal of their profit from glass. Some have even described Canon as a lens company first that also sells cameras. The bad news for Canon is that I (as a representative customer) was ready for a 28-70mm F2.0, I had it on my radar even since the first Sigma rumours. It would have been an instant buy for one of my other full frame 4K cameras. The EOS R 1.8x crop made it NOT an instant buy, so right there with me and a LOT of other regular full frame 4K shooters they just blew a TON of profit. It's a £3000 lens! I want Canon to put the 1D X Mark II sensor in a mirrorless camera, with full frame 4K and Canon LOG otherwise their C200 users will buy a Sony and their EOS R users will not buy as many lenses. That sensor in the 1D X II is the only full frame one they have which is fast enough to do full frame 4K. 4K/60p on that camera in 1.4x crop... Even if that is the absolute speed limit of the sensor, Canon have room to halve the frame rate to 30p and under, but extend the sampling to full width. It's simple maths. The total data per second coming off the chip remains under the speed limit at the lower frame rate but comes from a larger area. Final thing to consider, is that Canon want to stagger the release of new technology as far into the future as possible, so that we keep on upgrading and Canon keep having a reason to sell you the next model. If the EOS R had this amazing 4K image in full frame without rolling shutter issues, there's two BIG reasons LESS to buy the more expensive EOS R2 or whatever it will be, whenever it will be!! They are leading the market, so why give you everything NOW for CHEAP just because Sony is? Sony is chasing and they NEED to gain market share. Canon arguably does not. I am not saying I agree with this business strategy or that it's right in the long-run (clue - it will probably hurt them) - but it could be yet another reason why the EOS R is the way it is. Also the 3 top EOS R reviews on YouTube don't mention the rolling shutter problem on the camera in 4K, which I think is letting down a combined total of nearly a million viewers. These 3 guys (Peter, Caleb and Jordan) are all wonderful people and I have nothing personal against them, but I think it's a major failing not to mention it.

My EOS R is open to a bit of experimentation! Read the full article (Summary: it works!)

"Attack" is used so often on the internet it's become an attack just to have a different opinion to somebody. Indeed it's not an attack on any YouTuber on that list just to point out they failed and have a responsibility. In my understanding of the language, an attack is when you beat someone up in a bar, for example. I have not yet beat Kai Wong up in a bar.

My favourite recent quote from him was when they were launching the EOS-R and he said "Every three years Canon releases a camera thats three years out of date". Always worth tuning in to his channel immediately after one of the well known channels posts a "Its full frame so its twice as good" type of video as he goes off his head!

No need for CineLikeD when they've all got LOG

Try enabling CineLikeD on the flight deck!

FWIW, especially shooting in ProRes, I'd avoid shooting in Extended Video. I did extensive testing with EV vs Film log and there's no reason to take the hit on DR...especially baking it in. Monitor in EV if you like while shooting FIlm and then it's simply one step to apply EV in post which will look identical on scopes to EV in camera but with the latitide to get the full DR of the new camera. Also, when shooting ProRes I don't bother with Resolve as FCPX is optimized for it and really fast - even UHD, even on a MB pro. Also, if using the EV LUT in FCPX, I've found dialing in to around 30% after balancing initially with the scopes is the sweet spot.

Can you please try installing Magic Lantern on that plane?

When you watch the FHD footage of this camera you start see this option should not even exist considering the awful output. Absolutely to to come back on topic, I think the eoshd community and similar video minded people are aware of what RS is, and we don’t buy a camera because of Peter M review. The thing is we might represent 10% of people who buy those cameras, even for video use. 90% of buyers are not educated. You might think at 2-3K price point only pros and passionate educated photographer and videographers buy but no, most of them are the Average Joe with more money than other Joe and he wants good camera. You would be very surprised how many 5D canon sold to people who shoot JPG full auto only. My whole point is Andrew is right, and I think those influencers have a big influence on a lot of people buying those cameras. So it’s a shame when their reviews are far from reality whether it’s because they are paid or because they are poorly educated themselves. Sometimes I watch absurdities on video technical aspects on YouTube with people having millions of followers.

Attached you can find some dng files taken from the test. And in the link below, you can download the same test but shot in prores. A002_10130258_C022_000225.dng Blue 400 iso.dng blue 3200 iso.dng red 400 iso.dng red 3200 iso.dng

who the hell shoots 60p at 1/60th? last time I checked you wanted to be shooting at 1/125th, unless you wanted to deviate from the 180 degree rule for artistic reasons.

Wow there is a lot of misunderstandings around this issue I see. Rolling shutter is not driven by shutter speed. It is 100% how fast the sensor can read out the image line by line, top to bottom of the frame. The shutter speed can be 1/100 or 1/1000 and the rolling shutter speed will be identical as will amount of distortion as the subject moves or the camera moves. The only difference is you will have less motion blur on the slower shutter speed shot.

I thought it was a 1.8x crop? That's not full frame, that's closer to micro four thirds.

Sony A6300 was released 2 1/2 years ago, you can buy 5 of them for one EOS-R, and it has less of a crop

I still think if you want proven and reliable video centric performance the GH5/S is hard to beat. If you shoot a decent amount of stills the X-T3 gets the nod. At this point any perceived difference in IQ is negligible.

I think it is probably the automated systems being overzealous. Fair use is pretty clear in copyright law, isn't it! It's not some airy fairy thing that doesn't really exist. If somebody wants to use a small section of a track in a video for the purposes of commentary it's fair use. Likewise, one of my EOSHD Shooter's Guides is copyright material, but if a YouTuber wanted to review it and put an example page up from it, that would also be fair use and I'd be stupid to take it down anyway because it's increasing sales.

Now that would be fun on a paid shoot.

A few people over at bmcuser are complaining that batteries are getting stuck inside the P4k

Well, if you don't want to show the red clipping, by preventing it with your exposure, you can. It is not the purpose of this test. The purpose is to show how the camera reacts specifically in the red channel, by comparison with other colors (and the problem is still there at 3200 iso). And I find it problematic in some situations : a night street scene, with its many red car lights will cause many problems, with disturbing hyper saturated red blotches all over your image (whereas the greens, the blue and the yellow react normally). You can bypass it if you shoot in raw, but it will affect the entire image if you shoot in prores.

I guess its the Kubrick or in my case Tarantino inside me that really is trying to like the X-H1. I would love to just stick with it. As a tool it easily ticks all the boxes. Specially with thr speedbooster. But Im missing that thing that makes me want to create with, not just get from A to B.

Haha that's all true, it's a pragmatic way to look at it. There are two hats the same filmmaker can wear. His work hat where he wants to get the shot and go home. The client is satisfied. The audience is satisfied. The filmmaker gets paid. His Kubrick hat, where he wants the look of film, without issues, every shot has to be perfected, a certain look is desired - that's art. The misconception is that pros care about image quality to put it number 1 on the list of camera features. Most don't. Even at the very highest-end of TV where you'd think a pro camera is most needed, most flick a switch and enable a compressed Apple codec instead of RAW, like on the Alexa. I too would rather have a flaw in the image rather than a camera I don't enjoy shooting with, specs aren't the end of the story. With my Kubrick hat on, the rolling shutter really pisses me off and I couldn't care less about whether a popular audience notices it.

@Alt Shoo Luckily you can read all about it here. It's been posted in some em5ii discussions before.

Did you set infinity focus on the Viltrox, that could be the issue. You need to turn the optical element inside to make sure infinity focus is correct. I have the Nikon Version and no problem on a Pana M43. Still waiting the BMPCC4k to try it on though. Maybe the Viltrox covers the sensor a bit too much. Their factor is wrong it is not 0.72x but a little bit more.

I have the 23mm f2 and it’s fine. It’s super sharp. Some get hung up on that it’s not very sharp at f2 at close distance (within 1m), which I happen to like for portraits. At normal distances it’s very sharp even at f2. If you need to get very close it’s very sharp at all distances at f4. I find it a bit boring compared to the 35f2 and 50f2. All three were made for the X-Pro 2 and pair wonderfully with that cameras rangefinder. I see it as a lens designed for travel and street photography. Stopped down it’s incredibly sharp. Way better than any cheap Canon or Nikon lens. The 23mm has the fastest focus of any Fujinon I’ve tried, bar perhaps the 16-55. Silent. Weather sealed.

Sorry, meant to post it was the 50mm. Expensive lens, but amazing quality.

My guess is that it needs one of those super expensive atomos HDMI 2.0a cables for this to work. They are like 100 bucks. I have tried a few cables I have, but 400 mb/s is greyed out with all of them. I can do 4k 60 200 mb/s though.

Very nice work. I found myself looking at the style and editing and ignoring the IQ. The style seemed kind of light and excited in a kind of gentle and playful way. I think that was due to the smooth but hand-held camera movement, faster cuts, and lots of short macro shots. It was a very long way from the very formal aesthetic of slower orchestral music with slow slider shots that you often see! It was almost like he was interested in lots of things and ran around filming all the awesome stuff and then just cut it together. I shoot home and travel videos for my family, but I love looking at weddings because they're about capturing what happens with a minimum of staging things, plus they're trying to make things look happy and joyful, rather than accurate or neutral, which is the same for personal work of loved ones.

Well, the video looks awesome overall except for that one part. I shoot Sony so any time I see supersaturated rolloff, I tend to think that it is a Sony.

Nothing wrong with the GH5S. It has great battery life, anamorphic modes, duel card slots, codec which is easy on your computer, lenses are fully supported, great build quality and backed by a three year warranty.

MFT is the most versatile cinema mount you can find, so you can add from affordable native f/1.7 primes as for instance -- I've had reports 12-35mm f/2.8 is a good match for P4K as well. Both pretty affordable Oly 12-50mm f/3.5‑6.3 and Panny 45-175 f/4.0-5.6 offer you electric-powered zoom capability like you had a video camera in your hands. Without mention the Queen 18-35mm (I'm afraid longer focal length zoom won't make much sense once much heavier) f/1.8 coupled to a focal reducer where ends +1 to + 1 1/3 stop of gain and finally, those incredibly cheap C-mount pieces. There's no other mount where you can add almost everything you want, even PL mount lenses via adapter. So you are in some special territory where you can even mimic something midway S35mm film and FF look as you wish : -)

Personal taste does exist, yes correct. I don't like plinky plinky happy hipster music. It's not a proper cinematic score or film soundtrack, it's just elevator music. Give me Vangelis over The Music Bed any day.

Sorry, can't, and wont go back to adobe, ever...

this is the best all-aound lens for the camera https://www.amazon.com/Olympus-M-Zuiko-Digital-12-100mm-Black/dp/B01LWC5IMC?ref_=bl_dp_s_web_2530050011#customerReviews 12-100 wide-to tele sharp whaterproof great construction great smooth focus ring fixed apreture and IOS.

10-Bit, 4.2.0 is not considered Broadcast Quality. Main reason is because of poorer Chroma Subsampling. Yeah the Fuji X-T3 rings a lot of bells but I don't consider it as good of a Video money making tool as a GH5, GH5s is. For all around a X-T3 is pretty good as a user camera. https://www.pcmag.com/encyclopedia/term/57460/chroma-subsampling

No PRE is needed for raw VLog in Resolve A PRE is needed in Resolve for: HLG, Cine-D, and VLog wrapped in ProRes/DNX (or for wrapped VLog, 'data levels' can be set to Full/Data for the clip)

Haha, it was shot on a GH5 with a SLR Magic 12mm if I remember well. The blown out sun looks a lot worse on Youtube! Some parts were filmed by drone. I can't remember which.

Would also say the Blackmagic Pocket 4K. Same sensor as the GH5S but with pro features RAW, Prores, XLR inputs.

I currently have three kits under evaluation. A full frame, an APS-C and m4/3. One thing I keep coming back to is how expensive crop sensor lenses are. FF really is a money saver due to years and years of lenses on the used market.

Shot on: Blackmagic Pocket Cinema Camera 4K (BMPCC4K) Lenses: Voigtlander 17.5mm f/0.95 and Super Takumar 50mm f/1.4 Resolution and codec: 4K DCI, RAW 4:1, 24P and 60p ISO: between 400 and 3200. Edited and graded on DaVinci Resolve 15 LUTs used: BMPCC4K film to extended video (from Blackmagic) No grain added in post, No denoiser in post

No-one does them as in depth as Maarten. Also, Adobe is now supporting the camera. https://helpx.adobe.com/camera-raw/kb/camera-raw-plug-supported-cameras.html

Well I will say it is...Different LoL. Good look to it though.